SMART

[quote name='spree' post='170038' date='Apr 4 2008, 10:03 PM']lane poor pup?[/quote] Lane Poor pups stopped being made when he went out biz some years ago now. The guys at Modulus then took one of those superb pups to their friends at Seymour Duncan who then made a copy of it which is now supplied as the standard pup for the Flea bass and only for this bass (it is not available separately from Seymour Duncan's Basslines series only with a Modulus Flea bass). So you're getting the same pickup but made by Seymour Duncan. Original Lane Poor Flea bass pups are now extremely rare. Hope that helps! Ciao Ian

[quote name='Crazykiwi' post='170011' date='Apr 4 2008, 08:57 PM']do you have one in red over blue perchance?[/quote] Nice combination but no, Modulus custom builds all our basses to order as everyone wants something a bit different but we have some silver, blue and the fantastic new orange flake Flea 4's coming in the next 2-3 months all the same hardware spec as used by Flea. We also have the same sunburst finish that Flea is currently using coming soon as well. They'll all go quickly when they arrive... Hope that helps! Ciao Ian

[quote name='SMART' post='169927' date='Apr 4 2008, 05:48 PM']The hot jazz trio of the moment is the Neil Cowley Trio (www.neilcowleytrio.com), winners of the 2007 BBC Jazz Award and they're on 'Later...' this evening if anyone is not aware already. Richard is a great upright player and he kindly sent us a photo taken in the 'Later...' studio when it was recorded earlier this week on Tuesday. We at S.M.A.R.T helped with some cracking gear blend his microphone and David Gage pickup and to amplify his bass but more on that (and sorry about the unintended pun!) later... Ciao Ian[/quote] Just hot off the email, Richard has confirmed that the mic he uses is an AMT (Applied Microphone Technology) SM25B. the pre-amp is packaged with it. He blends it through the DTAR Solstice with a David Gage Realist pick up. He's getting good comments from sound engineers. He also comments that without a mic of some sort there is just a lack of the 'presence' and this seemed the best way of getting a mic close to the bass without interfering in anyway. He says he loves the DTAR Solstice and the two channel outs are just perfect too. He suggests that the engineers use mainly the mic and just use the pick up for weight as they see fit - they love him! Just some shared thoughts and real life experiences that might help some of you out there trying to get a great sound. Ciao Ian

[quote name='bass_ferret' post='169946' date='Apr 4 2008, 06:23 PM']I was gonna say the same. I cant imagine how stunning that would look in the flesh cos i've never seen a photo do quilt justice.[/quote] The light available for this Modulus Flea 4 in BlackStone was not too brill but see what you think... Ciao Ian

[quote name='eubassix' date='Apr 4 2008, 05:41 PM' post='169924'] OK, this is a little different to the conventional FLEA (with the single soapbar) - but it does have a very nice top and IS a Flea body (.. and neck, I think). It has an additional fret and is sort of cloned with the Modulus VJ series of basses. Twin Bartolini J's and with Vol., Pan, and 3EQ. Very nice (?).:- We supplied a Flea 4 with this finish without a scratch plate attached (though we did order one to come with the bass just in case the owner decided they wanted one) but with the usual Seymour Duncan Basslines MM pickup (made exclusively for this instrument as a direct copy of the original Lane Poor pickup) about 18 months ago. It certainly looks cool. I'll try and see if we took some photos... The customer adores it! Ciao Ian

The hot jazz trio of the moment is the Neil Cowley Trio (www.neilcowleytrio.com), winners of the 2007 BBC Jazz Award and they're on 'Later...' this evening if anyone is not aware already. Richard is a great upright player and he kindly sent us a photo taken in the 'Later...' studio when it was recorded earlier this week on Tuesday. We at S.M.A.R.T helped with some cracking gear blend his microphone and David Gage pickup and to amplify his bass but more on that (and sorry about the unintended pun!) later... Ciao Ian

[quote name='burray' post='167702' date='Apr 1 2008, 02:28 PM']I tried (and pretty much failed) to make a bass a few years ago and remember looking into this then without having much luck. Where's the best and most reasonable place to get fret lights fitted? And how much? OOORRRR, where is the best place that sells basses already set up with the lights? They look cool as sometimes. I'm just curious as this may be a future GAS problem.[/quote] EBS_Freak is spot on, the place to go is the SimS Custom Shop, Martin Sims LED system is the best in the world. Don't consider anything else! Ciao Ian

[quote name='nash' post='166937' date='Mar 31 2008, 02:36 PM']just want to look at prices but i cant find anything[/quote] FCN distribute G&L in the UK. If you have problems give them a call as I only have list prices from 2006 (I think!). FCN Music - Melody House Farningham Road Crowborough TN6 2JJ Tel: 01892 603730 Fax: 01892 613220 www.fcnmusic.co.uk I hope this helps! Ciao Ian

[quote name='SMART' post='161269' date='Mar 21 2008, 09:20 AM']He's definitely one of the bass gods of modern music and had an amazing feel for the groove and importantly...space in the music which many a musician takes time to realise is just as or more important than the notes themselves. I've got most of the back catalogue of his work with Chic and Sister Sledge and it's always fresh, exciting and inspiring to listen to Bernard's basslines which more often than not was the groove with the fantastic Mr Nile Rodgers layering his great rhythm work on his Strat. Oh to play bass like Mr Edwards... Just some thoughts. Ciao Ian[/quote] And...here's the man!

[quote name='YouMa' post='161122' date='Mar 20 2008, 09:35 PM']Can anyone give me any info about bernard edwards the guy who did all the disco stuff with chic.I think this guy is so underrated,his lines are just so fluid and tight,i can find little about him on the web no interviews or anything.Wikipedia doesnt really have much about him i know he used stingrays and spectors.[/quote] He's definitely one of the bass gods of modern music and had an amazing feel for the groove and importantly...space in the music which many a musician takes time to realise is just as or more important than the notes themselves. I've got most of the back catalogue of his work with Chic and Sister Sledge and it's always fresh, exciting and inspiring to listen to Bernard's basslines which more often than not was the groove with the fantastic Mr Nile Rodgers layering his great rhythm work on his Strat. Oh to play bass like Mr Edwards... Just some thoughts. Ciao Ian

[quote name='Chilliwack' post='149755' date='Mar 2 2008, 11:35 AM']Just wondering what brand of vocal mic stands you would recommend. I have gone through two in the past year - one was made by Stagg and the other by Giraffe. I wasn't impressed with either of them, they both used cheap plastic bits that just didn't stand up. Any advice on what, or more importantly, what not to buy would be much appreciated.[/quote] Yep, as above, K&M are the de facto standard for mic stands. Wouldn't live without them! Ciao Ian

[quote name='dmz' post='155661' date='Mar 11 2008, 11:53 PM']Folks, I'm thinking of getting the fingerboard of my fretless Jazz Bass coated. I remember someone saying that they got a neck of theirs coated by a certain Mr Shuker. Would he do such custom jobs ? Anybody had similar work done and if so would you recommend the luthier who did the work. Cheers[/quote] Give Martin Sims a call at the SimS Custom Shop. They can handle just about anything superbly and at a good price too. www.simscustom.com Ciao Ian

[quote name='peteb' post='136822' date='Feb 8 2008, 08:07 PM']I was about to post a long reply about why the EU is a good thing but my missus has just informed me that I'm getting a bit sad and need to spend less time at the computer and I'm beginning to think that she may have a point....[/quote] Yep, know the feeling and am trying to work on it! But...I just had to pour it out...because it's all true fellow Basschaters! The manufacturers have lost control of the retail market to Thomann and no-one had the gumption to manage it properly and they have themselves to blame. There I've said it! Or.. you can do what Fender did and is doing (and is now being followed by Gibson the brand destroyer) and control their own pan-European distribution system and fix it!! Ciao Ian PS I wrote the above while she was out shopping!!

[quote name='bass_ferret' post='136792' date='Feb 8 2008, 07:06 PM']+1 to all that - sounds better from the horses mouth.[/quote] I thank you! Ciao Ian

[quote name='alexclaber' post='136343' date='Feb 8 2008, 10:18 AM']But I can't see many failed rock stars wanting to work for Thomann's online sales department where they don't get to show off their 'chops'. Maybe if you visit their real shop you can get the service you know and dread... Alex[/quote] Well, I've actually visited their German show rooms, about 10 years ago in fact when I was visiting German guitar dealers from Hamburg to Munich over a two week period to show off the SimS Custom L.E.D. system fitted to one of my all time fav basses a new WAL 5-string (Mach 3) and a Yamaha Pacifica 604 guitar. They've expanded beyond imagination since then but what I saw and experienced was pretty impressive and I've been in a great deal of music retailers around Europe, the UK and the USA in my time. They are based out in the deepest Bavarian countryside in a very small village. It started as a small family store and then soon after I visited they had just completed an enormous extension which included a modern entrance foyer and each department had its own spacious area for instruments. The guitar and bass department had their own sound proof demo rooms aside from the main show area. At the back there was what I can only describe as a mini theatre to demo PA and lighting systems around a small sound stage, incredibly impressive! The people that work in the 'shop' part were helpful, friendly and knowledgeable but it's a long way to go to find such service levels that all too often are sadly lacking in abundance in the UK stores save a few exceptions (like Martin Peterson and Alex at The Gallery in Camden Town) Obviously, since that visit things have grown and grown. I think I know who the German microphone manufacturer of note is mentioned above as we sell their microphones to our customers and have had similar discussions with them on pricing as a delivered price from Thomann was less than my UK delivered trade price which really caused problems when supplying sound system installs. So Thomann has often been the bane of anyone wishing to do some sensible biz with these superb microphones. The heart of the matter is the European competition law and the regulations that prohibit manufacturers trying to maintain some semblance of sensible pricing structure so that reasonable margins can be maintained by everyone in the business and provide enough income to fund support, service and pay for things like exhibition stands and people at trade and consumer shows. It's all paid for by the margins and when that gets pushed to the smallest degree something has to give. I think sometimes a lot of us out there in muso land think that these things just magically happen and are funded because the manufacturers and retailers are making so much money. Could't be further from the truth! I know of one UK distributor who recently lost a jewel in their acoustic guitar distribution crown that only made a profit of thousands (not even tens of thousands) of pounds on several millions of pounds turnover mainly because of the enormous costs involved in supporting their business and advertising their core brands to the degree demanded by the market and manufacturers. Madness!! The reality is that it is the margins made from selling product that pays the wages, the bills, the ability to give professional support to customers and good customer service. These things all have to be paid for and so the need for a balanced reasonable margin for a retailer or reseller. The manufacturers are really to blame (if they and other retailers are looking to know who is at fault from their point of view) because what started as Thomann being a convenient outlet for their end-of-lines and the desire to shift stock at knock-down prices to make way for new products has grown into a monster with a momentum that is increasingly difficult for them to influence in a balanced way. The net result now in the UK and other European countries is that their sale teams have been emasculated and are now uncompetitive even with generous trade prices because Thomann seek very slim profit margins balanced against a massive volume of turnover. It's short-termism and the pressure to hit annual sales targets and move stock by manufacturers that has created the problem that the major discounting from Thomann is causing them and is now biting them well and truly on their proverbial behind. That is one of the most negative problems with the MI industry, it's full of people not looking at the longer term side of their business. Phew!! What a rant!! But...the pricing Thomann is bringing is great for the end-users!! Can't argue with that but from my point of view as a reseller it is really frustrating when I have to sell a beautiful German microphone at between 5 and 10% margin just so I won't miss the sale! It's almost a favour we do for our customers who buy our custom built guitars and basses. Now let's be honest here, who of us as either craftsmen, trained technicians, experienced managers, trained whatever would work ourselves for that sort of margin if that's all we could make, would we? There would be practically nought to invest in new tools, equipment, materials, etc but when we want to buy something well we don't consider that. But if we all want rock-bottom prices that will eventually stifle or kill off any decent service or retail companies then we can't turn around and start complaining about the lack of really good quality music shops (particularly bass) that we can go and spend time in trying out new and old gear in a great atmosphere with great service, etc, etc, etc. We can't have it both ways. Oscar Wilde said: A cynic is a man who knows the price of everything but the value of nothing. Just some rambling thoughts on Thomann... Ciao Ian

[quote name='joegarcia' post='130397' date='Jan 30 2008, 12:11 AM']How much is the DB728 you have in? [/quote] It was used on a Simply Red tour and needs a look at as someone decided to remove the speaker cable while switched on. We're due to get it repaired and serviced and it will form part of our studio set up alongside Glockenklang amp and cabs, our 2x superb high end Wayne Jones 2x10" cabs from Oz (awesome output at 780W each!). So, at this moment in time we're not looking to let go of it. They were well over £2K when new and are absolutely bullet proof strong. If we do decide to let it go in the future we'll let you know as it's the perfect partner for the great DB680. Next will be some equally excellent cabs to carry all that quality of sound and power! Ciao Ian

[quote name='Bassman7' post='126995' date='Jan 24 2008, 03:46 PM']Lieutenant Ellis says: "When my new orange flake Flea bass arrives I'm going to have to change the colour of my lipstick to match!'[/quote] Hey all you Basschaters that hanker after a Flea bass! I spoke to those nice guys at Modulus last night and the orange flake finish Flea was indeed a new exhibit at NAMM a few weeks ago and is set to become a new option alongside the silver and blue flake finishes. The other good news is that Modulus are now rejigging production to make way for 3 flake and metallic finish runs per year (the clean up time is why they don't do more). Each run will consist of 24 instruments, we have a silver and blue in the next run and the one thereafter is due in June and is just about half way full. We're going to order a new orange flaker with matching headstock. If you're thinking of one get in quick before the June run is full. Can't wait to open up the case on the new finish and be dazzled in both sight and sound! Ciao Ian

Hi Andy What you've said about the DB680 is absolutely spot on. The DB680 is still the best valve preamp bar none for quality of sound, Alex Aguilar and Dave Boonshoft of Aguilar Amplification really captured the absolute best frequencies and sound that just amplify bass perfectly. We miss the ones we imported and sold very much! In our humble opinion we always say to customers that if you want the very best valve sound then it can only be Aguilar, although their DB359 and DB728 are no longer produced (but we have a used DB728, monster with 8x 6550 power valves, 400W with switchable 2, 4, and 8 Ohm output) and then for the best in solid state there's only one Glockenklang...but then we are somewhat biased!! I'll post a picture of the first power rig we got reviewed by Roger Newell when 'Bassist' magazine was still around. It consisted of an Aguilar DB680 with a DB728 housed in a BAG END 19" rack unit atop two awesome BAG END Q10BX-D 4x10" bass cabs!! Massive sound, massive quality, massive bass!! Coming soon! Ciao Ian

[quote name='slystewart' post='118860' date='Jan 11 2008, 09:41 PM'][url="http://www.x2digitalwireless.com/product_xdr95_instrument.htm"]http://www.x2digitalwireless.com/product_x..._instrument.htm[/url] Any one used the X2 XDR 95 Guitar / Bass wireless system from the US looks good and seems to get some very good reviews thanks Stewart[/quote] Yes, it's a great system but at this moment in time the US version can't be used in the UK due to the frequencies it uses. Ciao Ian

[quote name='The Burpster' post='120358' date='Jan 14 2008, 07:33 PM']Thomann can do it for £160 sent... (stomp 2) If you can do one for less than £150 I'm in...... [/quote] Hi Burpster That'a ten four buddy! It will be under £150 for a StroboStomp 2 including UK mainland delivery (Royal Mail special Delivery Next Day). Ciao Ian

[quote name='Muppet' post='119832' date='Jan 13 2008, 10:41 PM']I'm an idiot and can't understand. Can you explain in idiot language?[/quote] Unfortunately, there is no easy two sentence way of describing this unless you already understand tuning temperaments (unless some 'clever clogs' out there can kindly assist!): Try this: Peterson's proprietary GTR™ Sweetened Tuning™ is designed to improve the sound of musical intervals on guitar, especially 4ths and 5ths. By taking advantage of a few coincidences such as the preponderance of 4th and 5th intervals appearing in many chord positions, the particular E-A-D-G-B-E arrangement of standard guitar tuning (and also the half-step down or "dropped" tuning variation), and the less-than-perfect overtones of vibrating strings, Peterson has introduced a number of slight variations which can maximize the tuning quality of chords. These guitar-specific Sweeteners™, including G5TH and P5TH in the AutoStrobe™ 490-ST, and GTR in the Virtual Strobe™ series, improve tuning in general but are especially important for "power chords" which feature 4th and 5th intervals. To gain maximum benefit from this feature, the guitar should be intonated (string lengths adjusted) using the strobe tuner in Equal preset, and tuned thereafter using the Guitar (GTR) temperament preset. And this: Traditional temperaments generally apply to instruments like the piano or organ, where every note can be separately tuned. What about a guitar, where the frets and intonation are usually set up for equal temperament? It turns out that significant improvements can be achieved if you set the tuning precisely enough. Peterson's proprietary GTR temperament (one of Peterson's many Sweetened Tunings™) is designed to improve the sound of musical intervals on standard and "drop tuned" guitars (EADGBE or one half-step below these), especially the 4th and 5th intervals. This improvement is most noticeable when playing in overdriven mode, where the guitar’s resulting accentuated overtones normally clash when tuned in "standard" equal temperament. The GTR temperament makes discrete adjustments to equal temperament, which has a positive effect on the overall sound. And you really need to understand how notes on a scale are spaced and behave to understand the positive benefits of Peterson's Sweetened Tunings: It is perhaps a cruel joke on all of us to be given such remarkable sensitivity in judging musical pitch intervals between simultaneous sounds. The mathematics of positioning (tempering) 12 scale notes in an octave prevents any more than a handful of perfectly harmonious chords for any one tuning of those notes (temperament). We have limited options: 1. We can equally space the 12 notes in the octaves so that chords of each given type (major, minor, b5#7-9, etc.) sound equally good in all keys. This is called equal temperament, the common "standard" in modern music. Unfortunately, this temperament scheme also guarantees that all chords of a given type sound equally bad! Not even one chord will have intervals that sound exactly in tune! 2. We can purposely shift certain scale notes closer to or farther from their neighbors to make perfect intervals or chords in some places. If we choose wisely, we can make the most important chords in a given key be the perfect ones. This is the concept behind Just Intonation (JST in the Temperament Menu of Peterson tuners). In the key of C, the chords of C major, F major, and G major can each have perfectly harmonious tuning intervals. Unfortunately, other chords, especially those in more remote keys like C# and F#, sound much worse than they would in equal temperament. If an instrument like a piano is tuned in Just Major temperament for the key of C, notes and chords that fall in the C Major scale sound wonderful. Modulating to the key of G, most chords sound good, some not quite as good. If one takes a more adventurous trek into the key of E, say, some real "ear-sores" start to develop in certain chords and intervals. Historically, the clinkers are dubbed "wolf tones" which gives some indication of their "charm". 3. Between the extremes given above, there are countless compromises. Why not settle for some nearly perfect chords in the most popular key signatures, while keeping the "wolves" at bay in the less traveled ones? There are about as many such "well tempered" scales as there have been minds conceiving of them. Every temperament generally takes the name of its earliest inventor or biggest proponent. Some of the more successful ones, like Werkmeister (WRK), Young (YNG), Kirnberger (KRN), and Kellner (KLN), are included in current models of Peterson tuners. Besides stock historic temperaments, Peterson Virtual Strobe™ Tuners also feature unique instrument-specific temperaments such as GTR™ for guitar, BAS for bass, and (VS-II/V-SAM™ only) E9 & C6 tempered tuning for pedal steel guitar. The VS-S StroboStomp™ pedal tuner/DI also features four optimized Buzz Feiten Tuning System® presets for electric guitar, acoustic guitar, bass guitar and 12-string guitar. All Peterson tuners (except the VS-1) are user- programmable, allowing the saving of up to 244 user temperaments to memory. The V-SAM allows you to adjust any temperament to any one of 12 roots, making these temperaments available in any specific key. I do hope this helps. Ciao Ian PS Sweetened Tunings in short get the very best out of your instrument

We're going to place another order on Peterson in the not too distant future so if anyone of you 'real and genuine' Basschaters are interested we could perhaps put together a special price and deal for you. Obviously, the more of you that join in the better the price we could offer you. Let's us know what you are looking (Peterson product) for asap. Just some thoughts.... Ciao Ian [/quote] Guys We'll be ordering more StroboStomp 2's as well so let me know if any 'Basschaters' are interested so we bring enough of those over as well. Deadline for orders is now two weeks from today as the guys at Peterson will be at NAMM and it always takes a tad longer to get thing sorted when it's on. As soon as I have the special prices including UK mainland delivery calculated I'll email each interested party on the forum so we can keep it special amongst ourselves. Capice?? Ciao Ian Ian

[quote name='Sting2007' post='114424' date='Jan 5 2008, 10:54 PM']Hey guys, just wondering if anyone has experience with Sims Custom Shop down in Kent ? I am considering getting them to tidy up the paint work on my stingray but i think there on holiday still ? Does anyone reccomend me or advise me not to use this service ? Thanks[/quote] The SimS Custom Shop is simply one of the best custom shops in the world period and I'm speaking from over 12 years experience in the industry working with some of the best luthiers and artists. I've known and worked with Martin Sims for at least 12 years now. We helped them establish their reputation in the USA and Europe with the SimS Custom L.E.D. system and introduced them to custom shop work for many of the biggest names in the bass guitar industry. They handle most of the finishing work for a good many of the top bass and guitar builders in the UK and they are the very first call whenever Fender Europe need any promotional or artist custom work. Some of the biggest names in bass and guitar have let their personal instruments be customised by Martin Sims and his very talented team. They are the only workshop that we will let anywhere near our Turner and Modulus instruments. As soon as they're back from their holiday break just call them to discuss anything and you'll get good honest advice as to what will or won't work and a very fair price. Check out references to SimS via the 'Search' facility on the forum. You won't be disappointed. I hope that helps! Ian